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JAINISM AND KARNĀTAKA CULTURE
1875, when Burnell wrote. Nothing is more striking than the wealth of quotation and illustration from previous authors which these grammatical writings contain, and this gives them a high scientific as well as historical value ".115
JAINA ART IN KARNATAKA The most distinctive contribution of Jainism to Art in Karnāțaka was in the realm of Iconography. As with everything else in life, the Jainas appear to have carried their spirit of acute analysis and asceticism into the sphere of art and architecture as well. There are minute details, for instance, in the Mānasāra, a standard book on the subject in South India, according to which,
The image of a Jina should have only two arms, two eyes, and a cropped head; either standing with legs kept straight or in the abhanga manner; or it may be seated in the padmāsana posture, wherein also the body must be kept erect. The figure should be sculptured as to indicate deep contemplation; the right palm should be kept facing upwards upon the left palm held in the same manner (and both resting on the crossed legs). On the Simhasana on which the image of the Jina is seated (and round the prabhāvali) should be shown the figures of Nărada and other rșis, hosts of gods (and goddesses ), vidyadharas and others, as, either seated or standing in the air, and offering worship to the Jina.
'Below the simhasana must be the figures of (other) Jinas in a worshipping attitude; these are the siddhas (or ādisiddhas ?), the sugandhas (sugatas ?), Cahantu (carhantās, i. e. Arhantas ?), Jana (Jina ?) and pārsvakas; these five classes are known by the name of Panca-paramestins.115. The complexions of these are respectively sphatika (crystal), white, red, black, and yellow. The central Jina figure should be shaped according to the
115 Cited by E. P. Rice, op. cit., pp. III-12. 115a This is not correct. The Pancparamesthis gre : Arhat, Siddha, Acirys
Upadhyeya and Sadhu.
